DOCSLIB.ORG

Digital Arts (DDA) 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Arts (DDA) 1 Digital Arts (DDA) 1 DDA-572 Electronic Music and Sound - (3 Credits) DIGITAL ARTS (DDA) Students examine works of seminal figures in electronic music and incorporate the aesthetics and structural concepts learned to original DDA-500 Special Topics - (3 Credits) musical compositions. Special attention is given to crafting transparent This course offers students the opportunity to explore emerging music mixes, using reverberation, automation, compression, and developments in digital art technologies and subject matter. These may equalization. The course is divided into two segments: hard disk include either specialized topics or special project opportunities. Content recording and MIDI-based recording. The goal is to create music may be either developmental, practical, or both, depending on current compositions that encompass the worlds of digital audio and MIDI. objectives. Prerequisites for this course vary by section. Students are DDA-577 Advanced Video Editing Graphics - (3 Credits) required to obtain the permission of the chairperson in order to register This class focuses on the use of 2-D digital video technologies in the for this course. creation of full-screen moving video. The course begins with a review DDA-510 Artist's Books in the Electronic Age - (3 Credits) of cinematic and analog video technology, but focuses on the creation This course provides students with the skills necessary to produce an and manipulation of full-screen digital video imagery. The class will artist's book with a computer graphics system. The course covers all cover the process of editing video using a digital non-linear editing areas of book production, including concept development, writing of text, system; including compositing, keying, color correction, layering, special layout, image making, printing, and building. This course is based on the effects, audio, and titling. All students enrolled in this class must have premise that computer technology has revived the Renaissance model of completed CG-575 (Video Editing for Computer Graphics) or have a single individual in charge of all aspects of book creation, printing, and sufficient experience with analog and digital video systems. publishing. DDA-590 Compositing & Special Effects - (3 Credits) DDA-513 3D Lighting and Rendering - (3 Credits) This course focuses on the techniques required to integrate a variety of In this intermediate level course, students learn the principles and source materials seamlessly into a single unique image. Compositing techniques of virtual 3-D lighting and rendering. This includes utilizing is used to create unusual visual effects in motion pictures, television materials, textures, cameras, shadows, special effects, and rendering commercials, broadcast banding, and network identification, as well tools. Students complete projects dealing with green screen shooting, as in video game production. Students learn the correct use of filters, matching live action, and rendering CG film frames to match real footage. traveling mattes, rotoscoping, layering, and blue screen. Color theory is DDA-514 Storyboarding & Storytelling Animation - (3 Credits) also addressed. This course targets all areas of pre-production and design for computer DDA-595 Motion Graphics - (3 Credits) animation in preparation for hands-on modeling and animation classes. This course focuses on the art of motion design and compositing, The course focuses on the fundamental skills of design for computer including limited 2-D animation and mixed media. Using images, graphics, animation beginning with basic conceptual scripting and storyboarding video footage, and sound, students explore the relationships of motion, techniques and ending with the development of a complete technical pacing, textures, transparency, transitions, design, and composition in breakdown ready to be animated. The art of storytelling is explored space and time. from logo treatments to character animation. Students should come DDA-606A Graduate Seminar I - (3 Credits) prepared to draw, write, pantomime, analyze, and invent. By the end of the This course is designed to immerse students in the critical discourse course, students conceive, design and execute their own storyboard for and practice of digital art. The students will formulate and hone their animation, including a technical breakdown of timing and strategies that thesis ideas and studio practice as they gain theoretical fluency. The can be applied in subsequent computer animation courses. course format will combine seminar sessions, guest lectures, student DDA-515 3D Character Design - (3 Credits) presentations and field trips. Guest critics will be visiting throughout the This class addresses the movement of the animated character with a year. Students will begin to consider their thesis work at the beginning of focus of historical study of character design, and the techniques for this semester which they will continue to explore and develop throughout building an effective 3D CG character model. the first year. Students will be given a required summer reading list with DDA-517 3D Character Animation - (3 Credits) which they will be immediately engaged at the beginning of the semester. This course explores character animation using the Maya software DDA-606B Graduate Seminar II - (3 Credits) package as an example. Coming into the course students should already This course is designed to immerse students in the critical discourse have some mastery of three-dimensional modeling, rendering, and and practice of digital art. The students will formulate and hone their animation, be familiar with the Maya software package, and have some thesis ideas and studio practice as they gain theoretical fluency. The experience with character animation. course format will combine seminar sessions, guest lectures, student DDA-519 3D Character Rigging - (3 Credits) presentations and field trips. Guest critics will be visiting throughout the This course is designed to teach the complete rigging process for 3-D year. Students will begin to consider their thesis work at the beginning of computer graphics character models. 3-D characters will be rigged with this semester which they will continue to explore and develop throughout an Inverse Kinematics-Forward Kinematics skeletal and control system to the first year. Students will be given a required summer reading list with simplify the animation process. Upon completion of this class students which they will be immediately engaged at the beginning of the semester. will be prepared to do 3-D animations with properly constructed and In this second semester, students continue critical and theoretical rigged characters. development while assembling a body of work and preparing to present their project) ideas to their Thesis committee. DDA-555 Subverting Digital Media - (3 Credits) Students learn to explore their creative and potentially non-conformist ideas within the context of digital media practices. Students engage in a self-directed practical as well as theoretical inquiry into digital media. 2 Digital Arts (DDA) DDA-610 Digital Arts Practicum Graphics - (3 Credits) DDA-635 Motion Dynamics - (3 Credits) This course addresses the creation of conceptual work in various digital Students explore motion dynamics animation using the Maya software media while building critical discourse around contemporary digital package. Students will learn the principles and practice of rigid- practices. Students bring their individual strengths to bear in individual body dynamics, particle systems, and cloth dynamics. Advanced and group studio projects culminating in a gallery exhibition. undergraduates may enroll only by permission of the instructor and the CGIM office. DDA-614 Three-Dimensional Computer Modeling Workshop - (3 Credits) DDA-640 The Internet As Art Medium - (3 Credits) The purpose of this course is to master the fundamental concepts of This course is aimed at those who wish to expand their artistic ambition three-dimensional modeling with a computer graphics system. Topics and creative vision by exploring this new venue in the arts, and in turn, include concepts of three-dimensional space and form, familiarity with produce substantial projects through Internet technology. Its primary hardware and software, three-dimensional modeling, scene composition, focus will be the aesthetics arising from the advent of a Web culture coloring, mapping, lighting, rendering and recording. Students are and an examination of where and how this new medium may fit into the required to design, build and render several models. context of today's and tomorrow's art-making. DDA-615 Dimensional Printing for Artists - (3 Credits) DDA-643 Digital Animation Studio - (3 Credits) This studio art course emphasizes artistic and aesthetic creativity This advanced-level course allows MFA students in the Digital Animation utilizing Digital 3D modeling, 3D printing and other digital output and Motion Arts emphasis to work independently on a variety of their methods. Students will apply current digital arts theory to the creation digital animation projects. Under the guidance of the instructor, each of a personal body of work while exploring digital and mixed media student designs and realizes either one or two animations during the processes unique to 3D printing. Course goals will be achieved through course of the semester. Students may work either individually on their the production of artwork, critiques, reading, and the hands on use of own personal animation, or collaboratively
Load more

Recommended publications
  • Fractal 3D Magic Free
    FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction.
    [Show full text]
  • Transformations in Sirigu Wall Painting and Fractal Art
    TRANSFORMATIONS IN SIRIGU WALL PAINTING AND FRACTAL ART SIMULATIONS By Michael Nyarkoh, BFA, MFA (Painting) A Thesis Submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Faculty of Fine Art, College of Art and Social Sciences © September 2009, Department of Painting and Sculpture DECLARATION I hereby declare that this submission is my own work towards the PhD and that, to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Michael Nyarkoh (PG9130006) .................................... .......................... (Student’s Name and ID Number) Signature Date Certified by: Dr. Prof. Richmond Teye Ackam ................................. .......................... (Supervisor’s Name) Signature Date Certified by: K. B. Kissiedu .............................. ........................ (Head of Department) Signature Date CHAPTER ONE INTRODUCTION Background to the study Traditional wall painting is an old art practiced in many different parts of the world. This art form has existed since pre-historic times according to (Skira, 1950) and (Kissick, 1993). In Africa, cave paintings exist in many countries such as “Egypt, Algeria, Libya, Zimbabwe and South Africa”, (Wilcox, 1984). Traditional wall painting mostly by women can be found in many parts of Africa including Ghana, Southern Africa and Nigeria. These paintings are done mostly to enhance the appearance of the buildings and also serve other purposes as well. “Wall painting has been practiced in Northern Ghana for centuries after the collapse of the Songhai Empire,” (Ross and Cole, 1977).
    [Show full text]
  • Guide to Digital Art Specifications
    Guide to Digital Art Specifications Version 12.05.11 Image File Types Digital image formats for both Mac and PC platforms are accepted. Preferred file types: These file types work best and typically encounter few problems. tif (TIFF) jpg (JPEG) psd (Adobe Photoshop document) eps (Encapsulated PostScript) ai (Adobe Illustrator) pdf (Portable Document Format) Accepted file types: These file types are acceptable, although application versions and operating systems can introduce problems. A hardcopy, for cross-referencing, will ensure a more accurate outcome. doc, docx (Word) xls, xlsx (Excel) ppt, pptx (PowerPoint) fh (Freehand) cdr (Corel Draw) cvs (Canvas) Image sizing specifications should be discussed with the Editorial Office prior to digital file submission. Digital images should be submitted in the final size desired. White space around the image should be removed. Image Resolution The minimum acceptable resolution is 200 dpi at the desired final size in the paged article. To ensure the highest-quality published image, follow these optimum resolutions: • Line = 1200 dpi. Contains only black and white; no shades of gray. These images are typically ink drawings or charts. Other common terms used are monochrome or 1-bit. • Grayscale or Color = 300 dpi. Contains no text. A photograph or a painting is an example of this type of image. • Combination = 600 dpi. Grayscale or color image combined with a line image. An example is a photograph with letter labels, arrows, or text added outside the image area. Anytime a picture is combined with type outside the image area, the resolution must be high enough to maintain smooth, readable text.
    [Show full text]
  • David Rosenberg's July 2013 / 2018 Interview with Miguel Chevalier
    David Rosenberg’s July 2013 / 2018 Interview with Miguel Chevalier Flows and Networks David Rosenberg: Can you tell me what led you, starting in the early 1980s, to use computer applications as a means of artistic expression? Miguel Chevalier: I was very much interested in the video work of the South Korean artist Nam June Paik and in Man Ray’s rayographs. And the work of Yves Klein and Lucio Fontana constituted at that time for me two forms of pictorial absolutism, but I did not yet clearly see how one could go beyond all those avant-garde movements. In the early 1980s, at the Fine Arts School in Paris, several of us young students asked ourselves what was to do done after all these “deconstructions” and negations of the field of art and painting. This was, need it be recalled, a time when, for example, Daniel Buren said he represented the “degree zero” of painting. For my part, I felt far removed from Graffiti Art, from Free Figuration, from the German Neo-Expressionists, and from the Italian painters who had gathered around the art critic Achille Bonito Oliva. I wanted to explore still-virgin territories and create a new form of composition with the help of computer applications. D.R.: You took a special set of courses in this area? M.C.: No, not at all. I really approached computers and programming as an artist and an autodidact. During this period, there was no instruction in these areas in art schools in France. D.R.: And how were your research efforts perceived? M.C.: With a lot of scepticism.
    [Show full text]
  • NANCE PATERNOSTER Digital Artist - Compositor - Instructor 503 • 621 • 1073
    NANCE PATERNOSTER Digital Artist - Compositor - Instructor 503 • 621 • 1073 OBJECTIVE: Working in a Creative Capacity for Apple Computer or Adobe Products Digital Compositing, Motion Graphics & Special Effects Animation Creating Digital Art & Animated Sequences Teaching in an Animation Department at an Art School EDUCATION: MA 1993 – San Francisco State University Masters in Computer & Film Animation/Video Disk Technology BFA 1984 - Syracuse University: Syracuse, New York Art Media Program: Computer Graphics Major/College of Visual & Performing Arts (Film, Video, Photo. & Computer Graphics/Programming - Fine Art Emphasis) Additional Computer Graphics Training: Art Institute of Portland - Maya Courses Academy of Art College 1994; Pratt Institute, N.Y., NY 1985; The School of Visual Art, NY 1984 N.Y. Institute of Technology 1984-1985; Pratt Brooklyn, 1985 Center for Electronics Arts, S.F., CA 1988-1989 COMPUTER GRAPHIC EQUIPMENT Platforms - Mac/SGI/PC Software - Flame, After Effects Photoshop, Illustrator, Painter, Quark Some - Maya, Max, Lightwave, Soft Image Xaos Tools - Pandemonium, NTITLE Some - Avid, Final Cut, Premiere Amazon Paint 2D/3D, PIRANHA Unix, Dos, + Some C++, Pascal, Fortran, Javascript , HTML Additional Photography, Stereo Photography. Analog and Digital Video editing, Film editing. RELATED WORK: Art Institute of Portland - Adjunct Faculty VEMG/DFV Depts. - Present Pacific Northwest College of Art - Adjunct Faculty - Present Art Institutes Online - Adjunct Faculty - Present Art Institutes Online- Full Time Faculty - Animation Department - 2006-2007 Art Institute of Portland - Full Time Faculty - Animation Department Teaching Compositing, Motion Graphics, Special FX Animation, Advanced Image Manipulation, Digital Paint, Independent Study for Senior Animation Students, & Digital Portfolio. 2000 - 2005 Art Institutes Online - Adjunct Faculty - Game Art & Design Department Teaching Digital Ink & Paint Online, 2D Animation, Image Manipulation.
    [Show full text]
  • Digital Art & Design (DART)
    Digital Art & Design (DART) 1 DART-170 Digital Video Editing 3 Units DIGITAL ART & DESIGN (DART) 108 hours activity; 108 hours total Introduction to non-linear editing on the computer. Includes historical DART-101 Graphic Design Foundations 3 Units development, digital video and audio formats, techniques and theory 108 hours activity; 108 hours total of editing, aspect ratios, organization of the edit, desktop environment, Graphic Design Foundations is an introductory course with emphasis on importing digital elements, project organization, video and audio files, the foundations of the Graphic Arts. Course content includes concept non-linear editing skills, applying transitions, designing titles, applying development, design processes, production, presentation, technical skills filters, digital and time line effects, importing graphics, mixing audio and in both traditional and digital media, and solving visual communication video elements, synchronize sound with video, and exporting digital video problems. Projects include lettering/typography and layout/composition. projects. Transfers to both UC/CSU Transfers to both UC/CSU DART-120 Intro to Digital Art & Graphic Design 3 Units 36 hours lecture; 54 hours lab; 90 hours total Recommended Preparation: Completion of ARTS-101 with a minimum grade of C. This course provides an introduction to visual design concepts and contemporary professional practices in graphic art using industry- standard software including Adobe Photoshop, Illustrator and InDesign. Transfers to both UC/CSU DART-125 Animation 3 Units 36 hours lecture; 54 hours lab; 90 hours total An introductory course in the basic principles and technology of animation. Both traditional and alternative animation styles will be covered with an emphasis on creating effective sequences appropriate for the subject or narrative.
    [Show full text]
  • DIGITAL ARTS Associate in Applied Science Degree | Career Program | Department of Art and Music
    DIGITAL ARTS Associate in Applied Science Degree | Career Program | Department of Art and Music This program seeks to prepare students for the Flexible Core dynamic field of digital art by providing a basic career- A. World Cultures and Global Issues oriented education. Through intensive training in visual foundations and state-of-the-art technology, students • HIS 10 History of the Modern World OR gain aesthetic awareness, problem-solving skills and the HIS 11 Introduction to the Modern World (3 Credits) technical proficiency necessary to pursue an entry-level C. Creative Expression position in the visual communication industry in positions such as graphic design, web design, computer animation, • ART 11 Introduction to Art History OR 3D graphic visualization, motion graphics design and ART 12 Intro to Art History: Africa, the Americas, interactive multimedia design. Asia and the Middle East (3 Credits) D. Individual and Society All students begin in the Graphic Design Option and once completing the basic digital design courses must choose • COMM 11 Fundamentals of Interpersonal between the Graphic Design Option or the Web Design Communication (3 Credits) Option. The Graphic Design Option focuses on typography, A-D - Select one from Flexible Core A, B, C, or D. page layout and publication design. The Web Design • Select one from ANT, COMM, ECO, ENG, GEO, HIS, Option focuses on HTML, CSS, and UX and UI Design. MOD LAN, MUS 11, PHI, POL, PSY, OR SOC (3 Credits) The Digital Arts program articulates with Lehman SUBTOTAL 24-25 College (B.A. Specialization in Studio Art: Computer Imaging); Mercy College (B.F.A.
    [Show full text]
  • Working with Fractals a Resource for Practitioners of Biophilic Design
    WORKING WITH FRACTALS A RESOURCE FOR PRACTITIONERS OF BIOPHILIC DESIGN A PROJECT OF THE EUROPEAN ‘COST RESTORE ACTION’ PREPARED BY RITA TROMBIN IN COLLABORATION WITH ACKNOWLEDGEMENTS This toolkit is the result of a joint effort between Terrapin Bright Green, Cost RESTORE Action (REthinking Sustainability TOwards a Regenerative Economy), EURAC Research, International Living Future Institute, Living Future Europe and many other partners, including industry professionals and academics. AUTHOR Rita Trombin SUPERVISOR & EDITOR Catherine O. Ryan CONTRIBUTORS Belal Abboushi, Pacific Northwest National Laboratory (PNNL) Luca Baraldo, COOKFOX Architects DCP Bethany Borel, COOKFOX Architects DCP Bill Browning, Terrapin Bright Green Judith Heerwagen, University of Washington Giammarco Nalin, Goethe Universität Kari Pei, Interface Nikos Salingaros, University of Texas at San Antonio Catherine Stolarski, Catherine Stolarski Design Richard Taylor, University of Oregon Dakota Walker, Terrapin Bright Green Emily Winer, International Well Building Institute CITATION Rita Trombin, ‘Working with fractals: a resource companion for practitioners of biophilic design’. Report, Terrapin Bright Green: New York, 31 December 2020. Revised June 2021 © 2020 Terrapin Bright Green LLC For inquiries: [email protected] or [email protected] COVER DESIGN: Catherine O. Ryan COVER IMAGES: Ice crystals (snow-603675) by Quartzla from Pixabay; fractal gasket snowflake by Catherine Stolarski Design. 2 Working with Fractals: A Toolkit © 2020 Terrapin Bright Green LLC
    [Show full text]
  • Digital Art and Animation
    S14-Animation Home | Projects | Outline | Students | Resources | Final Projects Spring 2014 - Digital Art and Animation Course Description Credits: 3; pre-req: junior level digital media concentration and ART2932C (Time Based Media) [from the university course listing] An intermediate class that explores principles and concepts of animation using traditional methods, digital imaging, and contemporary 2D and 3D software applications. Lectures, demonstrations, screenings and readings provide students with the opportunity to integrate concept, form and technology to explore the possibilities of animation. Dr. Jack Stenner Associate Professor, Art + Technology Office: FAC 304 Office Hours: TBD 352.273.3074 [email protected] ART3616C Undergraduate ART6675C Graduate Class: FAC 306 Time: T/Th 11:45 - 2:45 Website: http://art-tech.arts.ufl.edu/~jack/wiki/S14-Animation Listserv: [email protected] Introduction This course is designed to introduce students to an "animation workflow" prevalent in the realm of art production and computer graphics. The emphasis is on the development of an experimental art practice that combines form, method, and content. Multiple projects emphasizing different aspects of what is considered the "animation pipeline", from 3D modeling, texturing, lighting, motion, and post-production compositing techniques, will be used to develop ones skills in the overall, artistic use of these technologies. You will learn to integrate CG elements with live background imagery in the form of still or short motion composites. Lectures on animation principles and methods, introduction to the history of animation, and screenings of past and contemporary uses of computer graphics in art practice are planned. Reading and writing assignments will lead to class discussions investigating the nature of digital art and animation.
    [Show full text]
  • Vienna for Art's Sake!
    Vienna for Art’s Sake! Archive Austria / Contemporary Art Curated by Peter Noever 2 3 Vienna for Art’s Sake! Archive Austria / Contemporary Art Curated by Peter Noever Contents 5 Inhaltsverzeichnis Introductions | Einführung | Introduzioni Sommario 7 Luciano Benetton – Felix Vienna (EN) Felix Vienna (DE) Felix Vienna (IT) 13 Peter Noever – Exceptional Art Space (EN) Ausnahme-Kunstraum (DE) Spazio espositivo d’eccezione (IT) 26 Markus Mittringer – saith luciano: (EN) sagt luciano: (DE) dice luciano: (IT) 31 Artworks and Artists / Architects / Designers Kunstwerke und Künstler / Architekten / Designer Opere e artisti / architetti / designers 375 Index | Index | Indice Vienna for Art’s Sake! Introductions Einführung Introduzioni Archive Austria / Contemporary Art 7 Luciano Benetton Felix Vienna In art all roads lead to Vienna, today as in the nineteenth century. The intellectual and artistic capital of Mitteleuropa was a melting pot of ideas and experimentation, celebrated by the philosopher Karl Popper: “Vienna really was an incredible city, characterized by unparalleled creativity. It was a fertile mixture of almost all European cultures: the regime encouraged freedom of expression and the meeting of these different traditions”.1 The Vienna of today is an aggregator of artistic experiences, a capital city that fosters culture: from the 60 thousand square metre Museum Quarter – one of the largest cultural districts in the world – to contemporary galleries, from the treasures of the Habsburgs to the riches of this architectural, musical, literary city. Contemporary artistic experience, in particular, makes new headway Englisn everyday, even in strongholds of tradition such as the Winter Palace of Prince Eugene of Savoy, now a location for contemporary art.
    [Show full text]
  • HS Course Selection Guide 15-16
    2015-16 LONG BEACH UNIFIED SCHOOL DISTRICT HIGH SCHOOL Course Catalogue 2015-16 This guide contains a listing of most of the regular courses offered in the high schools of the Long Beach Unified School District. A course matrix (grid) begins each section indicating the projected offerings at each high school. A description of the courses follows the grid. All high schools offer all required courses, how- ever electives vary from site to site. It is also possible that a school may offer a course not included in this guide. Long Beach Unified School District Christopher J. Steinhauser, Superintendent of Schools Published by Office of Curriculum, Instruction & Professional Development Table of Contents Section Page High School Descriptions 1 Graduation Requirements 16 Special Opportunities 21 Course Matrices and Descriptions 24 Career / Technical Education 25 English Language Arts 61 English Language Development 75 General Studies 78 History/Social Science 80 Interdepartmental 89 Mathematics 95 Military Training and Naval Science 103 Physical Education 104 Science 111 Visual and PerForming Arts 121 World Language (formerly Foreign Language) 138 Regulations Prohibiting Discrimination 150 Table of Contents 2015-16 High School Planner/Schedule of Courses Student Name:___________________________________________________ Parent Signature:___________________________________________________ Career Interests: 1.________________________ 2.________________________ 3._______________________ m Undecided _____________________ Post High School Plans: ° University oF CaliFornia ° Community college, vocational/technical ° Military Service ° CaliFornia State University ° Attend trade/business school ° Full time homemaker ° Other four-year college or university ° Apprenticeship training program ° Other plans ° Community College, academic ° Work Full-time/part time, no school ° Undecided The University of California and California State University systems have specific subject requirements for freshman admission.
    [Show full text]
  • Art Digital Media
    DIABLO VALLEY COLLEGE CATALOG 2021-2022 any updates to this document can be found in the addendum at www.dvc.edu/communication/catalog Art digital media plus at least 3 units from: ARTDM-117 Digital Illustration .............................................3 ART DIGITAL MEDIA – ARTDM ARTDM-140 Motion Graphics ...............................................3 Janette Funaro, Dean plus at least 6 units from: ARTDM-160 3D Modeling and Animation I ..........................3 Arts and Communication Division ARTDM-161 3D Modeling and Animation II .........................3 ARTDM-165 Drawing for Digital Animation ..........................3 Possible career opportunities ARTDM-166 Intermediate Drawing for Digital Animation .....3 Digital media or graphic design jobs cover all ends of the cre- total minimum units for the major 21 ative spectrum. Some possible career options include website designer/developer, multimedia designer, computer-graphic artist, animator and cartoonist, interface designer, instruc- Associate in arts degree tional designer, production artist, video specialist, audio Art digital media specialist, multimedia programmer, technical writer, infor- Students completing the program will be able to... mational designer, multimedia company executive, internet consultant, and computer game designer. A. demonstrate an understanding of basic drawing tech- niques. B. produce a digital image from scanned or digital photo- Associate in arts degree graphs. Animation C. utilize digital images for exports to websites, multimedia Students completing the program will be able to... presentations, and print. A. visually and verbally conceptualize in a clear and concise D. utilize production tools for digital audio for multimedia way the artistic/technical direction for an animation proj- projects. ect. E. demonstrate basic techniques for video capture and edit- B. develop technical proficiency using computer hardware ing.
    [Show full text]